Everyone who revives Bellini’s Beatrice di Tenda, as the Collegiate Chorale did at Carnegie Hall on Wednesday night, calls the piece an “overlooked masterpiece.”
Verdi’s first operatic masterpiece is well served by this DVD
of a performance from the Teatro Regio di Parma.
There’s something charming and almost irresistible about early Verdi opera. I always equate it to seeing a grade school test from Albert Einstein.
This new DVD
release from EMI of the Royal Opera’s latest production of Puccini’s Tosca will no doubt be snatched up by hordes of grateful fans around the globe.
Imagine if someone left Vermeer’s masterpiece “Girl With a Pearl Earring” out in the rain.
The theatrical expression “You can’t tell the players without a program” was never more apt than when applied to Opus Arte’s release of Cavalli’s La Didone.
Did the ancient Egyptians invent chest waxing?
The last of the Strauss-Hofmannsthal collaborations, Arabella, is a real problem child.
After an uneven start to the season, the Met brought its A game Friday to a superb revival of Mozart’s La Clemenza di Tito.
If you’re the sort who prefers his diva to be an unapproachable sphinx prone to infuriating cancellations while radiating ennui, I suspect that the sunny, hard-working, grateful persona of American mezzo soprano Joyce DiDonato will not appeal to you at all.
Once again, we’re back with the Parmigiani at the Teatro Regio and their Tutto Verdi project marking the upcoming bicentennial of the great maestro’s birth.
Kaiser Overall—the name is intended to be sung in English, though the opera is in German—is probably mad, though perhaps no madder than anyone else.
In art, less is more — at least most of the time.
Midway through his traversal of Wagner’s 10 mature operas for PentaTone, we’ve learned this about Marek Janowski:
Last week’s freak nor’easter set the tone for Thursday’s chilly new production of Un Ballo in Maschera at the Met.
The realization of the opera Un ballo in maschera by Verdi and the librettist Antonio Somma is almost as famous as the opera itself.
In spite of sounding like an indelicate football injury, I Lombardi alla prima crociata was only Giuseppe Verdi’s fourth opera.
Opera’s Scottish enfant terrible David McVicar has applied his considerable skills in this 2011 Glyndebourne production of Die Meistersinger, the result being a refreshing new take on a familiar warhorse.
The battle of the sexes ended in an upset the other night in Le Nozze di Figaro.
Italo Montemezzi’s La Nave, premiered in 1918 and not performed anywhere since 1938, concerns itself with nautical power, male and female archetypes, love and hate conjoined, sex and death, the eastern and western halves of the Roman Empire — and the visionary future of Old Venice.
Death and its terrible aftermath hang like a pestilent fog over director Stefan Herheim’s fascinating and chilling production of Puccini’s La Bohème for Den Norske Opera.
“When the cross-dressing dude is the gifted singer Jeffery Roberson, and the opera is Menotti’s spellbinding The Medium, the result is prime musical melodrama.”
As an opera, La Traviata is defined by its characters.
It’s just not true that Gian Carlo Menotti composed The Medium as an opera only because he couldn’t get Joan Crawford to do it when his libretto was originally a screenplay.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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